The Yosemite Suite 22
The Yosemite Suite 22
Signed Print
David Hockney
£45,000-£70,000
$90,000-$150,000 Value Indicator
$80,000-$130,000 Value Indicator
¥430,000-¥670,000 Value Indicator
€50,000-€80,000 Value Indicator
$460,000-$710,000 Value Indicator
¥8,430,000-¥13,110,000 Value Indicator
$60,000-$90,000 Value Indicator
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
There aren't enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Medium: Digital Print
Edition size: 25
Year: 2010
Size: H 94cm x W 71cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| September 2020 | Phillips London | United Kingdom | |||
| March 2020 | Christie's London | United Kingdom | |||
| January 2020 | Phillips London | United Kingdom |
Meaning & Analysis
Depicting the famous El Capitan rock face, The Yosemite Suite 22 is part of David Hockney's Yosemite Suite series. The work was published as an inkjet print of a digital drawing in an edition of 25 in 2010. A large rock face, bathed in sun, faces the viewer, dwarfing the trees and vegetation below. In the foreground a lone tree frames the composition, its leaves an acid yellow, its trunk bright pink. Large boulders and rocks sit beneath it and the viewer can easily imagine taking Hockney’s place in front of this majestic view of what appears to be El Capitan, the famous granite monolith popular with climbers.
Filled with a variety of marks and effects, The Yosemite Suite 22 is an evocative work from David Hockney's Yosemite Suite series of prints. Made using an iPad the work is entirely digital, as evidenced by the nature of these marks and the shading which Hockney masterfully combines to create an illusion of surface and depth. Hockney would return to the digital medium a year later in his series The Arrival of Spring in 2011 which saw him recording his native landscape of rural Yorkshire as it moved from Winter to Spring. And it is in this later period, when the artist was already at an advanced age, that we see Hockney becoming most interested in nature and natural landscapes. The swimming pools and low buildings of LA feel a million miles away, as do the urban landscapes of etching series such as Illustrations For Fourteen Poems By C.P. Cavafy and A Rake’s Progress.
